Quotes About Interpretation

What passes for woman's intuition is often nothing more than man's transparency.

When a woman cries date rape what she means is the whole thing went too quickly.

My mom, who is a very strong Christian woman, will often ask me how some of the characters I play glorify God. Her meaning is that she feels as if every character should be a good Christian character, which is not necessarily my interpretation.

It is from the womb of art that criticism was born.

Women are better at reading body language everywhere in the world. As a matter of fact, it's associated with the female hormone estrogen. Women are better at figuring out of tone of voice, reading your face and posture and gesture.

I don't think you can replaces great themes. But I think people do want to hear fresh arrangements of them. They don't want to hear them played the same way all the time.

Interest in certain themes doesn't mandate a personal stake or personal experience of those themes. I've killed people in plays, but no one asks me what it's like to kill people.

I can't make a movie unless I believe in the themes behind it. I mean, that's the first question I ask myself, always, is, 'What is this movie about?'

I think you sense the metaphorical resonance of what you're writing without analysing it too carefully. That leads you down dead ends. You stop imagining things and start writing towards these themes.

In almost all my work, I try to re-invent Christian images and stories and themes. You'd be amazed by the letters I get from young Christians who recognise this and enjoy it.

The problem with themes is that writers don't realise they are themes until someone points them out.

Themes only arise after a novel is written, and people begin to try to talk about it.

I know the Bible pretty well. I'm not one of those guys who can immediately start quoting every book, but usually I know where to look to find certain themes.

I don't consciously go out looking for themes. They attach themselves to me.

Making a film is like making a mixtape. You're collecting all this stuff and putting your favorite stuff into it: you have actors that you like, characters that you're interested in, moments you want to explore, themes you want to deal with, music that you want to put in. It's a pastiche of all these things that deal with how you see the world.

One of the struggles that I have with classical music is the way one thinks about a recapitulation. There's always this idea of themes, and I have trouble with that.

Both individuals and societies tell themselves stories to simplify and make sense of the messy chaos of reality.

It's interesting that some people reading the comics see Scott Pilgrim as a blank slate in that they like to imagine themselves as Scott Pilgrim, so it's interesting that there are two kind of schools of thought about the character. One is, like, Scott Pilgrim is awesome. The second is Scott Pilgrim believes himself to be awesome.

I just like, when you look at people who have long careers in film, they're able to make films that are far away from themselves, because they're metaphorical. It creates more opportunities, I think.

Numbers can't speak for themselves, and data sets - no matter their scale - are still objects of human design.

It's the generally accepted privilege of theologians to stretch the heavens, that is the Scriptures, like tanners with a hide.

Extremists often derive their inspiration from literal interpretations of texts that should rightly be read not as Associated Press reports from the ancient world, but as theological and literary enterprises requiring independent intellectual assessment.

The people that usually have the most trouble with my books are the ones that pick them apart from a theological point of view.

It is not history, theology or mythology that interest me. It is the fact that history, theology or mythology could have alternative interpretations or explanations. I try to connect the dots between the past and the present.